Dinosaur Bones by A.D. Coleman

We are happy to be able to share this recent essay by the American photo critic  A.D. Coleman . Mr. Coleman was the first photo critic for the New York Times, the Village Voice, and the New York Observer. His work has been published in countless publications within the last 45 years all over the world. He is one of the very first genuine photography critics to achieve an international reputation. He received the first Art Critic’s fellowship from the National Endowment for the Arts in 1976 and was a Fullbright scholar in 1994. Not only has he personally pioneered the whole discipline of photo criticism in the United States in a dogged and relentless way, but his books of collected essays, Depth of Field, and Tarnished Silver have chronicled much of the entire development of art photography in America since the mid 1960′s. Among the most important contributions he has made is the rare concept that a writer should actually study and look at the photographs he is writing about before he writes. He writes in a clear human style that doesn’t require the reader to constantly refer to a dictionary or an anthology of philosophy to understand it. Continue reading

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In Defense Of the Precious Object

Four Japanese Photographers and What They Don’t Have In Common With Cindy Sherman

A Recent Spring Photo-Viewing Trip To New York

 

Before I start in talking about subtle, often modest scale Japanese photography and the legacy of photographic prints as intimate, introspective, and highly crafted objects, Continue reading

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The thing about nozzles…

I realize this hardly rises to the level of issues we love to talk about here  Continue reading

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The State of the State of the Arts in Black & White

An opinion by Jon Cone based upon the article of the same name published in the Jan/Feb 2012 issue of View Camera Magazine. 

In 2002, Epson introduced their first improvement to black & white printing when they added a light black ink in the then new Epson 2200 desktop printer. It would take Epson nearly five more years before they would deliver two shades of light black ink in the R2400 desktop printer. Epson considered the Ultrachrome K3 inkset to represent “a turning point in the history of inkjet printing.” With three unique levels of black, Epson claimed that the new Ultrachrome K3 color inkset “dramatically improves both color and black & white prints.”

The two light shades of black did dramatically improve Epson Ultrachrome K3 prints, but only in comparison to earlier Epson Ultrachrome prints. Over the same time span and even several years earlier, specialized black & white inksets flourished. Piezography® transformed from a quad-black (four shades black) inkset in 2000 to a septone (seven shades of black) inkset in 2005. Continue reading

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How to Network Lightroom

The debate has been raging since before Lightroom came out of Beta v1: when will we be able to share Lightroom catalogues? At the very least, how can we host a catalogue on a server somewhere and just open it up on different computers one at a time? Lightroom has a restriction where it blocks access if the catalogue database is from a networked location. Adobe built Lightroom this way to keep file-locking issues and database corruption to a minimum. But when you have many computers and thousands upon thousands of files, it’s nice to be able to open the same catalogue on each computer quickly without having to plug and unplug external hard-drives. Continue reading

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